As part of the release of the hardcover release of my book, Walking as Artistic Practice (softcover comes out in April!), I’m going to be publishing some brief interviews with the various artists, authors, researchers, creatives, collectives, and platforms whose art practice, written material, or other works I cite and mention.

My seventh interview in this series is with Tom Marioni who is famous for social art such as, The Act of Drinking Beer with Friends is the Highest Form of Art, Oakland Museum 1970. He has presented in the US, Europe, and Japan. Ongoing sculpture-based actions include, One Second Sculpture 1969, Drawing a Line as Far as I Can Reach 1972, Out of Body Freehand Circle 2004, presented in the Guggenheim Museum. Founded Museum of Conceptual Art ’70-’84, first MOCA show Sound Sculpture As 1970, Vision magazine ‘75 to ’81, Crown Point Press, The Art Orchestra ’97, and he performed in the SF Legion of Honor. Other honors include: Society of Independent Artists ’99, ongoing art salon, 3 NEA grants late 70s, Guggenheim Fellow ’81, as well as museum collections in US and Europe.

EM: First, thank you for chatting with me about your work, Walking Drawing, which I cite in chapter nine (Connections to Drawing). How would you describe this piece for people who might not be familiar with it?

TM: My walking drawing from 1999 comes from a series begun in 1972 Tree, Drawing a line as far as I can reach which was a measurement of my reach and not about how a tree looks but how a tree grows. Drawing from the bottom of the paper to the top is actually a Chinese word which means stick in Chinese then came Running and Jumping Marking the Paper while Trying to fly also 1972 which was a record of flight. I was holding a pencil and attempting flight by jumping and marking the paper and then in 1999 holding the pencil at my waist I walked making a record of my walking on the paper or on the wall of how the body moves when it walks. it is a pictorial record of my walking.

EM: What are some of your most recent thoughts on walking as artistic practice?

TM: Many artists starting with Richard long in England would take walks in the countryside create a work with stones making a line or a circle and then photograph it to record its existence and since then many artists have made walking as an action of art. Also, Hamash Fulton made walking as an art performance in other countries beside his native England.

EM: Can you tell us about any upcoming or recent projects you are excited about?

TM: I am continuing my famous social artwork The Act of Drinking Beer with Friends is the Highest Form of Art from 1970 and continuing to this day as a weekly art club in my studio in San Francisco. It is social art.

EM: Below is a video with remarks on a variation of this drawing piece:

As part of the run up to the hardcover release of my book, Walking as Artistic Practice (softcover comes out in April!), I’m going to be publishing some brief interviews with the various artists, authors, researchers, creatives, collectives, and platforms whose art practice, written material, or other works I cite and mention.

My sixth interview in this series is with Andy Howlett of “Walkspace.” Andy Howlett is a Birmingham-based artist and filmmaker. He’s a founding member of Walkspace and his interests include collective walking, urban exploration, guerrilla heritage and The Right to the City. Walkspace is a collective of artists and wanderers in the West Midlands who are intrigued by walking in all its forms. From gentle strolls to hardcore psychogeography, group walks to solo explorations, Walkspace covers the interesting, weird edges of the humble perambulation.

EM: First, thank you for chatting with me about your collective, Walkspace, and your international collaborative project zine, Parallel Walking: Between Here and There, Between Seen and Unseen (2022) with female-led Jalan Gembira walking group in Yogyakarta, Indonesia. I cite this work in chapter two (Analyzing Walking Works) in the subsection on “Written Texts.” How would you describe this project for people who might not be familiar with it?

AH: Parallel Walking was an international walk-based cultural exchange exploring pedestrianism in two motor cities – Birmingham, UK, and Yogyakarta, Indonesia – resulting in a digital zine of works including walk-based songs, essays, photos and shared walk experiences. Three walking artists from Walkspace in the UK and three artists invited by Indonesian walking collective, Jalan Gembira, walked in virtual parallel to explore their respective cities, individually and communally, on and off-road. Results were shared in online discussions, a parallel exhibition and in a digital zine. Common themes arose around pedestrian safety, public-private space, urban planning, lack of pedestrian infrastructure, patriarchal spaces, tourism and gentrification, economic disparity, and the different emotional experiences of walking in the city. Both explored walking as a radical act in cities that prioritise cars and motorbikes over pedestrians. Through the work, a connection was made between walking collectives in cities 10,000 miles apart, giving insight into each other’s artistic, cultural and collective processes.

EM: What are your thoughts on walking as artistic practice?

AH: I think going for a walk is an inherently creative act because you’re curating an experience in real time: responding to stimuli, improvising a route, making associations and connections. Walking as art therefore makes a lot of sense but it’s still not a very well known or understood discipline. I remember the excitement when I first started discovering the possibilities of walking as a creative practice: the realisation that I had all the subject matter I could desire right on my doorstep. My city was my playground and all I had to do was walk to unlock its secrets and magic. I’m now particularly interested in exploring the power of collective walking and considering walking as a form of spell-craft or ritual.

EM: Can you tell us about any recent or upcoming projects Walkspace is excited about?

AH: Our most recent public walk was the second in our Wandering Rocks series responding to the erratic boulders which travelled to Birmingham from Wales on a glacier. You can read about it here: http://walkspace.uk/2023/08/walk-report-wandering-rocks-2/ The word “erratic” comes from the Latin root errare meaning to wander, roam or stray. These rocks which now litter the suburbs of South Birmingham are the original flâneurs and we take a lot of inspiration from them. We have exciting things in store for the Wandering Rocks project in 2024.

As part of the run up to the hardcover release of my book, Walking as Artistic Practice (softcover comes out in April!), I’m going to be publishing some brief interviews with the various artists, authors, researchers, creatives, collectives, and platforms whose art practice, written material, or other works I cite and mention.

My fifth interview in this series is with Deriva Mussol (literal translation: Owl Drift), led by Jordi Lafon, Eva Marichalar-Freixa, Montsita Rierola and Sebastià Masramon in collaboration with everyone interested in their proposals. Their long professional record in education and visual and performing arts, brought them to embrace walking practices as a way to explore endless possibilities for creation and learning in contemporary contexts. They enjoy generating actions as well as sharing gathering spaces which are meant to be open, permeable and in motion.

EM: First, thank you for chatting with me about your group, Deriva Mussol and its series of 12 night-walks in 2013. This piece is mentioned in Walking as Artistic Practice chapter ten, “Embodiment,” in the subsection on “Thinking and Perspective taking,” because the walks were used as a way to examine place and public space. How would you describe this work for people who might not be familiar with it?

DM: These walks were thought as an adventurous long-term first dérive. In fact, Deriva Mussol was born out of this first experience. We (Jordi Lafon and Eva Marichalar-Freixa, the founders) had no other goal than setting up some night encounters to stroll together and see what would happen if we did so. There was no other intention. Of course we knew about Débord (Theory of the Dérive) and much more especially about Francesco Careri (Walkscapes), reading their books was the trigger that brought us to experiment in this format. What would happen if we organized a group of people to do some dérives with no other purpose rather than walking, strolling around the city? The group was a group of High Education students who were absolutely not familiar with any of our ideas. We are specifying all this because the walks were not used to examine place and public space, but we embodied the experience that by walking with no other purpose than walking made of place and space (public, city outskirts or countryside) a being of relation, we started perceiving place and space in a completely different manner, our relationship with the places we walked night after night became enhanced as if these places were “other people”. We started experiencing, very much from and embodied experience, that by walking all those relationships we built towards ourselves, the others and the territory grew in a more profound and vivid way. These observations were repeated often during those months of walks. During the walks we came up with a name “Mussol” (owl) after a night where we ended up (as always, unexpectedly) in the home living room of a university teacher colleague we knew who invited us to go in and commenting on her collection of owl figures. Months later, we gathered our conclusions (one of them the new embodied idea of place and space, which we hadn’t taken in consideration at the beginning) and organized a “fictional dérive” as a participative performance of our experience. This experience walk is called “Deriva Mussol”. After the performance, and with an embodied perspective and knowledge of the dérive, we kept going incorporating the name we have been identified with until now. We must add that these first months were the core case of study of an embodied research that Eva wrote for her Masters Degree in Inclusive Education. Also, Eva has written some book chapters or magazine articles for non specialized audiences where she explains the experience throughout the years in Deriva Mussol. Some texts can be found in our website (some in English). Most of them are written in Catalan and Spanish (but google translate everything nowadays), if you wish we can send you some pictures of the texts we have not online.

People not used to this kind of experiences “only” needs to be ready for an adventure. This is like an adventurous journey where you decide a territory to start with, pack your things, forget about obligations and be ready to be happy with and explore what you find along the way. Presence is the key and a playful mindset willing to spend time following impulses and unexpected encounters and observations and thoughts!

EM: What are your most recent thoughts on walking as artistic practice?

DM: The most challenging part of our 12 years of experience has been sticking to the idea that “walking is enough”. We don’t walk in order to “dynamize groups”, “analyse settings” or any other “use” that walking can be good for, we walk because walking is enough. We say it this way because by walking you clearly get some results as enhancing group dynamics, embodying research, collecting data, analysing territory… we don’t say we don’t do all of this because by walking, no matter if you are searching for it or not, YOU ARE GOING TO HAVE THESE RESULTS. Let’s say it more clearly: we are saying that, for us, the most interesting thing is that walking leads inherently the foundational aesthetics of the phenomena of humanistics (learning, creating, researching, inquiring, thinking, exploring, connecting) and that being convinced of that, we have chosen to focus on walking itself knowing that all of that will emerge at its own path and rhythm. We are not interested in “using” walking as a tool even though we know it is very powerful as a tool and we ourselves can use it in our respective professional practices and also as Deriva mussol if someone requires or asks us too. But, as we say and as we would like to insist: walking is enough in itself, walking with the only aim of walking, insisting on the idea of the action of walking. The most simple thing has become within the years the most challenging, as it is very easy to fall into adding stuff or adding actions and performances to our walks. We insist on the idea that we don’t need to do anything other than walking (if it happens, ok, if it is necessary, ok, but walking does not need any other thing to justify its action).

This idea is very difficult to explain by writing rather quickly! 🙂

EM: Can you tell us about any recent or upcoming projects you are excited about?

DM: Recent projects that we are excited about are:

• https://derivamussol.net/aiguabarreig/ (a morning city stroll for teenagers in a city summer camp)
• https://derivamussol.net/175-2/ (a walk to celebrate the 175 anniversary of a cultural institution in our city by re-planting seeds of a flowers that has almost disappeared in ours fileds and was very popular and essencial for bees)
• https://derivamussol.net/romandre-a-tres-espais/ (exploring the idea of “just being in a place”, we visited three places that had appeared in our strolls throughout these years and met with some of the people we had met there years ago to reflect of the place after thgese years – the walk was organized for the city council who was doing some new action in a neighbourhood we had visited often by walking it)

Also, we are very proud of and happy with our experiences of walking and dérive in educational settings. Jordi Lafon was walking with a group of secondary school students for a whole school year (he did this weekly and published a wonderful booklet of the experience along with the students that participated in it), and Eva Marichalar-Freixa, who also is a secondary school teacher, has introduced full morning strolls and walks in the school curriculum of the school! That means that every Friday, the students of Secondary School meet their tutor to spend the morning exploring and learning outdoors. Eva has been doing this for three years now and will in the future publish this experience along with her studies and experiences in the practice of walking and dérive as a learning methodology applied in a school environment.